Chapter I.—Introductory.
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| [§ 1.] | Public opinion no criterion of excellence, except after long periods of time. | [1] |
| [§ 2.] | And therefore obstinate when once formed. | [4] |
| [§ 3.] | The author's reasons for opposing it in particular instances. | [5] |
| [§ 4.] | But only on points capable of demonstration. | [5] |
| [§ 5.] | The author's partiality to modern works excusable. | [6] |
Chapter II.—Definition of Greatness in Art.
| [§ 1.] | Distinction between the painter's intellectual power and technical knowledge. | [8] |
| [§ 2.] | Painting, as such, is nothing more than language. | [8] |
| [§ 3.] | "Painter," a term corresponding to "versifier." | [9] |
| [§ 4.] | Example in a painting of E. Landseer's. | [9] |
| [§ 5.] | Difficulty of fixing an exact limit between language and thought. | [9] |
| [§ 6.] | Distinction between decorative and expressive language. | [10] |
| [§ 7.] | Instance in the Dutch and early Italian schools. | [10] |
| [§ 8.] | Yet there are certain ideas belonging to language itself. | [11] |
| [§ 9.] | The definition. | [12] |
Chapter III.—Of Ideas of Power.
| [§ 1.] | What classes of ideas are conveyable by art. | [13] |
| [§ 2.] | Ideas of power vary much in relative dignity. | [13] |
| [§ 3.] | But are received from whatever has been the subject of power. The meaning of the word "excellence." | [14] |
| [§ 4.] | What is necessary to the distinguishing of excellence. | [15] |
| [§ 5.] | The pleasure attendant on conquering difficulties is right. | [16] |